Performing in Staged Reading of "Osama Been Laughing"

I'm hitting the boards for the first time in a long time as a petulant teen trapped in suburbia. Here's the show info:

Osama Been Laughing

by Jeremy Kehoe

A FIERCE BACKBONE STAGED READING

Directed by David Watkins Jr.

Produced by Amy Tofte & Stephen Blackburn

Featuring: Donovan Keith, Doug Burch, Drew McAuliffe, Lori Allen Thomas, Morris Nash & Sean Welch

WHEN
Sunday, 5/23/10 @ 2pm
Monday, 5/24/10 @ 8pm

WHERE
The Lounge Theatre
6201 Santa Monica Blvd.
Los Angeles, 90038

HOW
Online reservations:
https://spreadsheets.google.com/viewform?formkey=dFF5ZEVlMDVuOWpWbmJQY0RMSEo5dUE6MQ
or call 310-201-0064

$10 Suggested donation
Industry comps available

OSAMA BEEN LAUGHING
Synopsis:
Collateral damage inflicted by Mary Leary’s terrorist-obsessed paranoid delusions...Mary spends her days glued to her telescope, scanning suburbia to rip the invisible terrorist weeds from her neighbors’ manicured lawns. She convinces herself there are Al Qaeda wanna-be’s in the neighborhood plotting the demise of western civilization. Can a conniving, pedophile priest be the one to convince her that her country's salvation rests solely on the sacrifice of her only son?


NEXT UP
What happened to the Wind in the Willows?

SAVING TOAD
by David Seidler
@ The Lounge Theatre
Sunday 6/6/10, 8pm
Monday 6/7/10, 8pm

About Fierce Backbone

Fierce Backbone is a 501(c)3 non-profit, collaborative organization of playwrights, actors and directors committed to developing new works for the stage. We understand that true development takes time, resources and a commitment to the creative process outside the pressure of producing live theater. We provide the environment for our writers to develop and mature their material through readings, scene work, improvisations, staged readings and workshop productions.

The Fierce Backbone Staged Reading Series & Workshop Productions

There are four plays in our 2010 Spring/Summer Staged Reading Series. Our first Staged Reading was Exit Laughing by Paul Elliott, which had 2 sold out performances May 7th & 8th. In 2009 we put up two workshop productions: the first, Cleo's Girls by Jan O'Connor, had a successful run of 6 performances in September 2009 at The Lex in Hollywood. Our second workshop production,Everything But by T.S. Cook, had a sold out run of 6 performances in December 2009 at The Secret Rose Theater in North Hollywood.

www.fiercebackbone.com

The Key To Productivity: Hate Your Work

I've only got 3 months until my August 1st, 2010 acting in Los Angeles "deadline". Realizing this, I entered a panic about what I have be doing with my time, and how I can maximize my remaining 3 months. I called up an old friend and lamented my slackerdom, begging for an explanation of how she avoids the siren song of the internet and instead burns the candle at both ends for months at a stretch. I've taken some liberties and translated her response into a credo of sorts:

Play your inner critic on full-blast. Allow yourself to believe that you're not good enough, that you're not doing enough, that you're falling behind. Live in a constant state of terror that everything you are doing will be laughed at and denigrated unless you work harder.

Given her laundry list of accomplishments, I knew it was an effective technique. But it was upsetting to think a person would do that to themselves. I didn't know if had it in me to live that way for the next 3 months.

So, for a different perspective, I called my productivity buddy Ilana and whined about my looming deadline and lack of work ethic. She cautioned me, saying "You can't set deadlines for success in an acting career, you don't deal those cards." To which I replied, "I know, I just don't feel like I'm working hard enough, and what I'm doing isn't good enough, I'm only:

• Attending weekly classes with Richard Seyd.
• Attending bi-monthly workshops at The Winner's Circle.
• Keeping up my improv chops at bi-monthly Groundlings classes.
• Going to 2+ Casting Director workshops each month.
• Co-Producing and Directing a short film that shoots in one week.
• Filming scenes from Donovan And The Vast Ancient Conspiracy.
• Rehearsing for and acting in a staged reading of a new play.
• Meeting bi-weekly for 3+hrs to write a screenplay for a feature film with my buddy Zak.
• Writing comedic monologues.
• Taking weekly voice lessons.
• Spending 30min/day 5 days a wk on craft (lines, cold reading practice, etc).
• Spending 30min/day 5 days a wk on marketing (mailers, thank you cards, submissions)."

And then I thought: Wait... that's actually a lot.

And then painfully I realized: That incredibly self-critical way of being that I wouldn't wish upon anyone... apparently I'm already living it, and have been for some time. I had no sense of how much I was doing because I was so good at telling myself it wasn't enough.

Self-criticism is a dangerously effective motivational tool, it can drive us to do superhuman amounts of work at our highest standard. However, it comes at a price: no matter how much we do, no matter how good our work, we'll never be able to fully appreciate our accomplishments; least of all while we're working towards them.

How to Keep a Notebook and Why You Should Keep a Notebook.

The premise of this post isn't rocket science, it's been espoused by writers, comics, and thinkers ever since paper and pen weren't novelties for the insanely rich. The idea is this:

Get a notebook, carry it with you, and write in it.

Answers to common notebook-writing questions:

Why should I keep a notebook?

Because Hemingway did. Not good enough? So did Picasso and Einstein. Still not good enough? You say you want a rationale? Okay, here you go:

To help you remember.

Unless you've got a touch of autism there's no hope of you remembering everything that has ever happened to you, more likely than not you've probably already forgotten plenty of important stuff. Forgetting a thing doesn't make it unimportant, it just makes it forgotten.

That hot guy/girl's phone number that you forgot? Yep that really could have been the love of your life. That brilliant idea for a joke/sketch/character/screenplay you had at coffee with friends? It's only brilliant if you can remember it long enough to write it.

What kind of notebook?

Any kind you want. If you want to be fancy buy moleskine. If you want to eat this month: buy composition books. They're about $2 a pop and hold words just fine.

What should I write in my notebook?

Anything. Everything. But closer to everything than anything if you can manage. Here are some ideas to get you started:

• A diary of the events in your life and how you feel about them.
• Notes from your acting classes.
• Ideas for jokes, plays, scenes, characters, businesses, inventions.
• Reviews of works that inspire you.
• Drawings & doodles.
• Clippings of images that inspire you (not technically "writing" but just as valid).
• Audition summaries: What went well? What didn't? Stop after listing 3 things from each category.
• Your dreams.

How often should I write in my notebook?

As often as you have semi-profound/funny thoughts or experiences. In the moment is best. Daily is great. Bi-weekly is totally doable. Weekly is a good starting point, and sporadically is better than not at all.

What should my entries look like?

There's no particular form. I like to date mine and give them a title so they're easier to flip through later.

What do I do when I fill up my notebook?

Date it and file it next to your last notebook. There's something wonderful about seeing an entire shelf of a bookcase filled with the stories of your life. Get a new notebook and begin the process again (I buy in bulk so I don't find myself without).

I've tried in the past but stopped.

Join the club. There will be times where you feel more inspired to write than others, often during a major life upheaval, take advantage of these times to get back in the habit.

Many people also stop because its impractical to always carry a notebook. Idea: buy a smaller notebook, or use your cell phone's "notes" feature to jot down ideas for you to explore at length in your paper journal at home.

What is the most important thing to do with my notebooks?

Reread your notebooks on a semi-regular basis. You'll notice patterns of behavior, moments of triumph, points of change, and you might find that certain passages or ideas really speak to you and demand further exploration. It can be a tremendous ego boost as an actor to see how much you struggled with something a few months ago that you now have a good handle on.

Donovan, why are you giving such stupid and obvious advice?

Because you've heard it a thousand times and you still don't keep a notebook.

How To Know What You Really Want To Do

I've got a lot of friends who go through life not knowing what they want to do. They go from job to job, relationship to relationship, party to party, and while they do have fun they often feel unfulfilled. I think this happens to folks (myself included) because we don't have a clear sense of purpose. Clarity of purpose can redefine a person's life.

But finding a purpose, let alone being clear about it, is easier said than done. I was talking with someone who suggested this test:

Imagine that money is no longer an issue. You've just won hundreds of millions of dollars in a lottery. What do you do?

The answer to that question will tell you a lot about what is truly important to you. You may not have millions in the bank, but how can you start living a life that is closer to that imagined ideal? You don't have to wait.

I'm Performing Tonight At The Groundlings! (Mon March 1st, 2010)

After two years of classes at The Groundlings, I'm finally performing on their main stage. I had my first performance last month, which went incredibly well. Now, based on a history of past success, I feel it's time to invite folks to come see me work.

It's a 90min all-improv show with hilarious upper level Groundlings students. I normally cringe at the prospect of attending a friend's improv show, but I assure you that the folks I'm working with are incredibly talented and funny.

Tickets are $6.50 and come with a free bottomless glass of wine.

Please come!

Show Information:

This month's show features performances by an all new cast of current upper-level Groundlingsstudents and directed by Kevin Kirkpatrick.

Student Showcases always bring in a massive crowd, so make sure you buy your tickets in advance!

Contact the Box Office at 323-934-4747 x37, or online at www.groundlings.com

Monday, March 1st at 8pm

Cast:

Andy Bray

Nate Clark

Phillip Daniel

Allison Dunbar

Christopher Eckert

Anderson Edwards

Conor Fetting-Smith

Samantha Roy

Adam Harrington

Donovan Keith

Mike Primiano

Sarah Wolter

Tickets are $6.50 and available NOW at the Box Office, or online at www.groundlings.com.

What A Greek Titan Taught Me About Work Ethic

My New Year's Resolution? I resolve to stop procrastinating... starting next week.

Funny right? I thought so. Until I looked down, saw that it was January 7, and that I had pulled one of those life-imitates-art moments.

Are you familiar with the myth of Atlas? He was a titan; the titans were this race of giants who lived in ancient Greece. Total badasses to the man. Atlas and his buds got bored and decided to start a war with the Gods of Mt. Olympus. It went surprisingly well until two titans defected to the other side; with their assistance the Gods laid a world of hurt on the titans for being so impetuous. The Gods had a habit of punishing those who had the gall to cross them. What did they do to Atlas? They threw him atop a mountain range, and had a conversation that went something like this...

Atlas: Ow! That hurt! You just threw me atop a mountain range. Not cool.

Gods: Shut up Atlas, we beat you fair and square, it's time for your cruel and unusual punishment.

Atlas: What?

Gods: You see those heavens over there?

Atlas: Yeah. What about 'em?

Gods: Pick 'em up.

Atlas: What? Are you crazy? That's impossible.

Gods: You heard us.

Atlas: Seriously? A black hole is wicked heavy! The heavens must way trillions of tons. Plus, I could totally burn my fingers on Super Novae!

Gods: Widdle baby Atwas finks de hehbuns is too heawy! Aww you gonna kwhy wittuh baby Atwas?!

Atlas: Fine. Fine. I'll pick 'em up.

So Atlas picks up the heavens, and rests them on his shoulders. They're just as heavy as he thought; heavier even. Aside from one break to go grab apples for Hercules, he's been carrying the heavens on his back ever since.

I don't imagine most people would envy Atlas. He's got an arduous job for which he is very rarely thanked; the rampant spread of monotheism really cut down on the number of goats sacrificed in his honor. But you know what? Crappy job or not, Atlas has a tremendous work ethic. Not once have I been crushed by the sky. The man just shows up and does his work, every day.

Acting for a living is way more fun than Atlas's job, heck so is my day job. So why is it Atlas is way more consistent about showing up to do his work? I've got some theories, but mostly it comes down to him being responsible for things greater than himself.

If I don't show up for my acting career, the only person who suffers is me. I don't have Atlas's advantage of having the entire world depending on me to do my job. I don't have a mountain full of pissed off Gods throwing lightning bolts at me whenever my motivation flags.

So how do you do it? How do you show up for yourself every day? How do you achieve that consistency? How do you make your career goals take precedence over what is comfortable?

These questions are not rhetorical.

Life Experience vs Acting Class

I've often said that a person who wants to be an actor would be better served by taking a cooking class than taking an acting class. Not because acting classes aren't valuable, but because increasing the breadth and depth of your life experience will have a much greater impact on the quality of your work than learning any particular technique. The difference in my work before and after my trip around the world is stupidly obvious. Good acting is less an invention from thin air than it is a reshuffling of self. Depending on the role: you play up certain parts of your personality and experience and you sublimate others. The more that's happened to you, the more you've felt, the more of yourself you've used to get through life, the greater your palette.

If any of what I've just written holds water, after this week is over I'm going to be a motherfucking artistic genius.

One of my great personal role models died earlier this week. She was a beautiful, kind, caring, and giving woman. The world is a little darker without her.

Two days later I was party to a decision making process that sent an 18 year old kid (and murderer) to prison for the rest of his life. If he's lucky he'll be 70 when he next tastes freedom. Good news: I believe the system can work. Bad news: We might have failed as a society.

Oh, and I learned to make latkes.

No doubt, when I someday play Hamlet, audiences will be riveted by my performance. Not because of my brilliant descent into madness, but because at some level they'll sense: at any moment this goy could start grating and frying potatoes. Oh vey!